Tools

LEADER 02880nam 22003734a 4500

001 ocm48655621;

003 OCoLC;

005 20141212163000.0;

008 011207s2002 ctuag b 001 0 eng ;

010 a| 2001008006;

020 a| 0300083742 (alk. paper);

035 a| (Sirsi) o48655621;

035 a| (OCoLC)48655621;

042 a| pcc;

049 a| EREM;

050 00 a| ML3849b| .S47 2002;

082 00 a| 780/.072| 21;

100 1 a| Shaw-Miller, Simon,d| 1960-=| ^A520185;

245 10 a| Visible deeds of music :b| art and music from Wagner to Cage /c| Simon Shaw-Miller.;

300 a| xiv, 290 pages :b| illustrations, music ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 245-281) and index.;

505 0 a| Ut pictura musica: interdisciplinarity, art, and music -- "Deeds of music made visible": Wagner, the Gesamtkunstwerk, and the birth of the modern -- Instruments of desire: musical morphology in Picasso's cubism -- Quasi una musica: Kupka and Klee, music, and the idea of abstraction -- "Out of tune": Hauer's legacy and the aesthetics of minimalism in art and music -- A chorus of voices: seeing music in Cage and Fluxus, the birth of the postmodern.;

520 a| This book explores the relationship between music and the visual arts in the late nineteenth and twentieth centuries, focusing on the modernist period. Reassessing the work of composers and artists such as Richard Wagner, Pablo Picasso, Paul Klee, Josef Matthias Hauer, and John Cage, the author argues that despite modernism's advocacy of media purity and separation, the boundaries between art and music were permeable at this time, as they have been throughout history. The author begins by discussing the place of Wagner's music and ideas at the time of the birth of modernism, presenting Wagner's aesthetic of the Gesamtkunstwerk as an alternative paradigm for modernist art. He goes on to analyze Picasso's use of musical subjects in his cubist works and Klee's adoption of music and the issue of temporality in his paintings and drawings. He concludes with the radical aesthetic of Cage, the silencing of sound, and the promotion of intermediality in the work of Fluxus artists. Through these examples, the author raises questions about both art and music history that will be of interest to students of both disciplines.;

650 0 a| Art and musicx| Historyy| 19th century.=| ^A17736;

650 0 a| Art and musicx| Historyy| 20th century.=| ^A17736;

994 a| X0b| ERE;

596 a| 3;

998 a| 882400;

999 a| ML3849 .S47 2002w| LCc| 1i| 30372011550263d| 7/17/2014e| 12/8/2013f| 4/25/2024g| 4l| MSTm| JMUSICn| 7p| $37.80r| Ys| Yt| MGESBKu| 7/23/2002x| BOOKz| MCIRCo| .STAFF. enhanced 1/30/24 -jjab;

Visible deeds of music : art and music from Wagner to Cage / Simon Shaw-Miller.

Author/creator	Shaw-Miller, Simon, 1960-
Format	Book
Publication Info	New Haven : Yale University Press, ©2002.
Description	xiv, 290 pages : illustrations, music ; 24 cm
Subjects	Art and music--History. --19th century. Art and music--History. --20th century.

Contents	Ut pictura musica: interdisciplinarity, art, and music -- "Deeds of music made visible": Wagner, the Gesamtkunstwerk, and the birth of the modern -- Instruments of desire: musical morphology in Picasso's cubism -- Quasi una musica: Kupka and Klee, music, and the idea of abstraction -- "Out of tune": Hauer's legacy and the aesthetics of minimalism in art and music -- A chorus of voices: seeing music in Cage and Fluxus, the birth of the postmodern.
Abstract	This book explores the relationship between music and the visual arts in the late nineteenth and twentieth centuries, focusing on the modernist period. Reassessing the work of composers and artists such as Richard Wagner, Pablo Picasso, Paul Klee, Josef Matthias Hauer, and John Cage, the author argues that despite modernism's advocacy of media purity and separation, the boundaries between art and music were permeable at this time, as they have been throughout history. The author begins by discussing the place of Wagner's music and ideas at the time of the birth of modernism, presenting Wagner's aesthetic of the Gesamtkunstwerk as an alternative paradigm for modernist art. He goes on to analyze Picasso's use of musical subjects in his cubist works and Klee's adoption of music and the issue of temporality in his paintings and drawings. He concludes with the radical aesthetic of Cage, the silencing of sound, and the promotion of intermediality in the work of Fluxus artists. Through these examples, the author raises questions about both art and music history that will be of interest to students of both disciplines.
Bibliography note	Includes bibliographical references (pages 245-281) and index.
LCCN	2001008006
ISBN	0300083742 (alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML3849 .S47 2002	✔ Available	Place Hold

Visible deeds of music : art and music from Wagner to Cage / Simon Shaw-Miller.

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